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423:) were sold or auctioned off, and were often acquired by other photographers working in China who would then make new prints from the negatives to be incorporated into their own stock. Furthermore, especially in a country as large as China, travelers would often purchase photographs by several photographers they visited throughout their trips, and would combine them into a single album upon their return. As such, 19th century photograph albums, even those bearing the label of a particular studio, are often the work not only of that studio, but of several other unaccredited photographers as well.
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photography studio’s production, The Afong Studio was known to occasionally include prints from negatives made by other photographers in albums it produced. This phenomenon extended to other studios as well, and Lai Afong’s photographs would often find their way into albums produced by other studios, or into albums assembled by the purchasers of the prints. Since Lai Afong was a “master photographer with a highly attuned artistic sense,” he only incorporated work from well-regarded foreign photographers – such as Milton Miller,
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Lai Afong was the most successful of his generation of
Chinese photographers in appealing to both a Chinese and foreign cosmopolitan clientele. Lai Afong advertised in English-language newspapers – offering a “Larger, and more complete collection of Views than any other Establishment in the Empire of
418:
Several obstacles make it difficult to reliably identify the artists who photographed nineteenth-century China: the scarcity of material which is scattered around the world is seldom correctly recorded or catalogued, and the few identifiers and indexes that exist (artist, studio, location, etc.) are
177:. Lai Afong's subject matters ranged from portraits and social life pictures to cityscapes and landscapes. Little is known about his life, although many of his images survive today as testament to his extraordinary talent. After Lai Afong's death, the business was taken over by his son in the 1890s.
170:
process, but, it is said that by as early as 1859 had learned the art of photography. At some point between 1865 and 1867, Lai Afong worked at the Hong Kong studio of
Portuguese photographer José Joaquim Alves de Silveira; by 1870, the earliest known announcement of the Afong Studio was printed as
426:
Despite Lai Afong's prominence, relatively few works can be securely identified as being from his hand. The scarcity of original photographs and absence of archival records make it challenging to identify Lai Afong’s work. Although photographs printed from Lai Afong’s own negatives dominated his
378:
As the most successful
Chinese photographer of his time period, Lai Afong’s photographs offer a rare opportunity to view China and its people through the eyes of a Chinese artist, before the transformations of the twentieth century would change the country forever. After languishing in near
278:
The Afong Studio became a destination and training ground for foreign photographers in the region, and photographers such as Emil
Rusfeldt and D.K. Griffith began their careers under the tutelage of Lai Afong. In 1875, Griffith claimed that his mentor had “entered the arena of European art,
441:, attributed to Lai Afong, contains images from Milton Miller, St. John Edwards, and other unidentified photographers. However, as Lai Fong expanded his collection of views through extensive photographic expeditions, he replaced the negatives by others with his own views. Afong Studio
289:
Lai Afong seems to have been the only
Chinese photographer of his generation to be embraced by his foreign contemporaries. However, his work is distinct among them, as many of Lai Afong’s photographic compositions show the technical and aesthetic influence of traditional
1116:
236:. As Lai Afong’s reputation quickly grew, both Chinese and foreign clientele flocked to his studio for portrait sessions, including some of China’s most important people such as
283:, a Scottish photographer working in China at the time, praised Lai Afong’s images as “extremely well-executed, remarkable for their artistic choice of position," in his book
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for showcasing "magnificent views of a rapidly growing Hong Kong, Guangzhou, Beijing, Shanghai, Fuzhou, and Xiamen, and important early portraits of the diverse people of late
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China” – and the artist captioned much of his work in both
Chinese and English. Afong Studio photographs were sold to both Chinese patrons – both those local to
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has helped to expose Lai Afong to a wider contemporary audience. Lai Afong’s photographs are currently held in the permanent collections of the
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Arte Dal
Mediterraneo al Mar Della Cina – Genesi ed incontri di scuole e stili. Scritti in onore di Paola Mortari Vergara Caffarelli
946:
947:"The First Exhibition of Works of by the Pioneering Chinese Photographer Lai Fong at the Johnson Museum of Art, Cornell University"
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more than any other photographer working in China in the 19th century, earning his work a place among the giants of 19th century
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often erroneous. When early photographers went out of business or left China, the contents of their studios (including their
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122:; c. 1838 or 1839 – 1890) was a Chinese photographer who established Afong Studio, considered to be the most successful
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Early
Chinese Photographers from 1840 to 1870: Innovation and Adaptation in the Development of Chinese Photography
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associating his name with photography in its best form, and justly stands first of his countrymen in Hong Kong.”
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the first museum exhibition dedicated to Lai Fong. The majority of the photographs exhibited were on loan from
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for “truly the life of
Chinese society in the 19th century, telling the story of China in that era” and in
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in France. No other nineteenth-century
Chinese photographer offered as extensive and diverse a view of late
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361:, the exhibition received praise from international news outlets such as China’s largest newspaper,
130:. He is widely acknowledged as the most significant Chinese photographer of the nineteenth century.
1117:"Herbert F. Johnson Museum of Art opens the first exhibition of 19th century photographer Lai Fong"
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Vision and Reflection: Photographs of China in the 19th Century from the Loewentheil Collection
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Vision and Reflection: Photographs of China in the 19th Century from the Loewentheil Collection
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1074:"New Perspectives about the Origins of Chinese Photography and Western Research in China"
1024:
The Global Flows of Early Scottish Photography: Encounters in Scotland, Canada, and China
379:
obscurity for decades after his death, the presence of his work in archives such as the
200:, creating photographs. His collection of views included photographs of masterpieces of
454:
Selected photographs by Lai Afong (Note: See more of Lai's images on Wikimedia Commons)
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322:
1167:"First Exhibition of Nineteenth-Century Chinese Photographer Lai Fong Opens in Ithaca"
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created after circa 1880 appear to contain few or no images from other photographers.
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205:
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Essentially Chinese – The Chinese Portrait Subject in Nineteenth-Century Photography
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19:
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eds. P. Fedi-M. Paolillo, Officina di Studi Medievali, Palermo, 2015, pp. 587–598
1323:
Barbarian Lens, Western Photographers of the Qianlong Emperor's European Palaces
507:
442:
1448:
1355:. Cambridge, Mass.: Harvard University Asia Center. p. 267. Archived from
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Through a Foreign Glass: The Art and Science of Photography in late Qing China
275:
and those visiting from other parts of China – and foreign visitors to China.
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Lai Fong. “Portrait of an Official.” 1870s. Albumen silver print. Source:
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Lai Fong. “Chinese Performers.” 1870s. Albumen silver print. Source:
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Lai Fong. “A Mandarin’s Wife.” 1870s. Albumen silver print. Source:
405:
321:
261:
189:
137:
1407:
History of Photography in China: Chinese Photographers 1844–1879
694:
History of Photography in China: Chinese Photographers 1844–1879
1092:"Brush and Shutter: When Chinese Painters Became Photographers"
708:
75:
887:"Lai Afong 赖阿芳 and Afong Studio, early HK photographic studio"
913:"Local heroes of early photography in Asia and the Pacific"
644:清华大学艺术博物馆、洛文希尔收藏编.世相与映像——洛文希尔摄影收藏中的19世纪中国.北京：清华大学出版社，2018.
954:
People's Daily (translated by the Loewentheil Collection)
1217:"People and views of China, [ca. 1860-ca. 1900]"
1142:"Exhibition Highlight | Lai Fong: Photographer of China"
848:
846:
294:, known as guóhuà. Additionally, Lai Afong favored the
1478:. Los Angeles, California: Getty Research Institute.
980:. Los Angeles, California: Getty Research Institute.
826:"Western man in Hong Kong in Chinese costume c. 1885"
857:. Beijing: Tsinghua University Press. p. 185.
607:
Images related to Shanghai and other Chinese cities
412:
Stephan Loewentheil Photography of China Collection
328:
Stephan Loewentheil Photography of China Collection
144:
Stephan Loewentheil Photography of China Collection
86:
71:
56:
37:
398:, and several other prominent museum collections.
357:. Although in-person viewing was cut short by the
798:"Lai Fong (ca. 1839-1890): Photographer of China"
647:泰瑞·贝内特.中国摄影史：中国摄影师1844-1897.徐婷婷译.北京：中国摄影出版社，2014.
593:An album mainly of landscape photographs of China
1472:Cody, Jeffery W.; Terpak, Frances, eds. (2011).
1438:: CS1 maint: bot: original URL status unknown (
1027:. McGill-Queen's University Press. p. 272.
974:Cody, Jeffery W.; Terpak, Frances, eds. (2011).
344:Lai Fong (Ca. 1839-1890): Photographer of China,
1520:Lai Fong (Ca. 1839-1890): Photographer of China
1475:Brush & Shutter: early photography in China
686:
684:
586:Album of photographs of Peking and its environs
738:Encyclopedia of Nineteenth-Century Photography
682:
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678:
676:
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672:
670:
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664:
285:The Straits of Malacca, Indo-China, and China.
224:, and numerous others, as well as magnificent
1051:The Straits of Malacca, Indo-China, and China
767:
765:
650:泰瑞·贝内特.中国摄影史：1842-1860 .徐婷婷译.北京：中国摄影出版社，2011.
353:, one of the world's foremost collections of
8:
1420:. Archived from the original on 28 June 2017
180:Lai Afong traveled through the provinces of
1316:
1314:
1312:
45:
34:
1387:History of Photography in China 1842–1860
1054:. Harper & brothers. pp. 188–189
891:The Industrial History of Hong Kong Group
730:
728:
726:
257:Grand Duke Alexei Alexandrovich of Russia
1493:Yuan, Feng; Mingzhi, Wang, eds. (2018).
880:
878:
876:
874:
853:Yuan, Feng; Mingzhi, Wang, eds. (2018).
802:Cornell University Johnson Museum of Art
244:. According to the verso of many of his
940:
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452:
1497:. Beijing: Tsinghua University Press.
1431:
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820:
818:
166:. It is not known how he learned the
7:
402:Identifying Afong Studio photographs
14:
1192:"Search the Collection: Lai Fong"
162:in the 1850s as a refugee of the
945:Zhang, Jinyang; Hou, Xingchuan.
566:
552:
537:
518:
500:
486:
472:
458:
1321:Thiriez, Regine (17 May 2019).
1296:Princeton University Art Museum
1021:Lee, Anthony W. (30 May 2019).
917:National Galleries of Australia
830:National Galleries of Australia
1196:The Metropolitan Museum of Art
494:Temple of the Six Banyan Trees
396:National Galleries of Scotland
248:works, he was photographer to
218:Temple of the Six Banyan Trees
1:
1410:. London: Bernard Quaritch.
697:. London: Bernard Quaritch.
384:China Photography Collection
351:China Photography Collection
266:Picture wall in Afong Studio
1246:National Galleries Scotland
1580:
1171:Fine Books and Collections
741:. Routledge. p. 815.
388:Metropolitan Museum of Art
369:Fine Books and Collections
17:
1456:(Master of Arts thesis).
773:"Lai Fong (Afong Studio)"
614:People and views of China
438:People and Views of China
435:. For example, the album
355:Early Chinese Photography
204:such as sites within the
119:
44:
1559:Chinese photojournalists
1292:"Collections: Lai Afong"
633:Chinese language sources
600:From Afong, Photographer
171:an advertisement in the
1564:Hong Kong photographers
1549:Pioneers of photography
1404:Bennett, Terry (2013).
1385:Bennett, Terry (2009).
1221:Getty Library Catalogue
1048:Thompson, John (1875).
691:Bennett, Terry (2013).
544:A commercial street in
735:Hannavy, John (2013).
415:
334:In February 2020, the
331:
267:
253:Sir Arthur Kennedy KCB
150:Lai Afong was born in
147:
1554:Chinese photographers
1527:5 August 2020 at the
1458:University of Florida
433:Dutton & Michaels
421:glass plate negatives
409:
336:Johnson Museum of Art
325:
300:landscape photography
265:
250:Governor of Hong Kong
228:of such locations as
210:Fragrant Hills Pagoda
174:Hong Kong Daily Press
141:
1389:. Bernard Quaritch.
1146:Photography of China
627:Photography in China
392:J. Paul Getty Museum
202:Chinese architecture
96:Fang Lai, Lihua Fang
93:Lai Ah Fong, Huafang
60:1838 or 1839
381:Stephan Loewentheil
348:Stephan Loewentheil
192:, Songjiang (today
168:wet-plate collodion
124:photographic studio
99:Li Fang, A'Fong Lai
1522:Virtual exhibition
1447:Chen, Shi (2009).
416:
340:Cornell University
332:
268:
148:
51:Lai Afong. c. 1870
1504:978-7-302-51668-2
1485:978-1-60606-054-4
1396:978-0-9563012-0-8
987:978-1-60606-054-4
864:978-7-302-51668-2
359:COVID-19 pandemic
164:Taiping Rebellion
109:
108:
102:賴阿芳, 賴華芳, 黎華芳, 華芳
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1362:on 12 March 2021
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923:on 28 March 2016
919:. Archived from
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707:. Archived from
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466:Golden Lily Foot
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304:Carleton Watkins
292:Chinese painting
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87:Other names
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1529:Wayback Machine
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711:on 28 June 2017
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573:studio portrait
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527:Gulangyu Island
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308:Gustave Le Gray
306:in America and
246:Carte de visite
234:Gulangyu island
230:Victoria harbor
158:and arrived in
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1513:External links
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